Swimming Pools at Night

Two Halves of a Line

Ruins

The Whole Town in Against Us

Look After Yourself

Station Pt.2

Travelling Heart

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Last Days' follow up to 2006’s “Sea” “These Places Are Now Ruins” is by the artist’s admission a personal journey about revisiting the past and accepting the present is something we can all truly identify with. The album tells, strictly through feelings, of expectations, disappointments, distance, and the futility of attempting to reclaim lost memories. “These Places Are Now Ruins” is not so much a concept as “Sea” but instead a loosely chronological album documenting thoughts and emotions experienced when returning home after having moved away. The result is often dark and abstract when recalling fears or memories we can't forget but also touching on moments when one explores hopes for the future and the impact loved ones and special times have had on our lives. Last Days' sound remains at times cinematic yet slightly lo-fi and now features more live instrumentation giving “These Places Are Now Ruins” a wider diversity and more fullness of sound. Few things stay the same and those things we wish would change never do. “These Places Are Now Ruins” examines theses themes and over its duration accepts that it's sometimes best for us all to leave the past where it is…

The Irish TimesAn album that rewards with repeat listenings, These Places Are Now Ruins is a beautiful achievement. Highly recommended.

Silent BalletLast Days is a quickly rising star who's likely delivered n5md's top album of the year and given himself plenty of room for future growth. This is an exciting time for Mr. Richardson.

Angryape (now called omgmusic)In the end, as the plaintive "Traveling Heart" draws to a close, what we are left with is the perfect sequel to "Sea". A release where Deaf Center's cinematic qualities are channeled through Jasper TX's lo-fi sensibility. "These Place Are Now Ruins" is simply an enthralling piece of work.

TexturaThese Places Are Now Ruins includes numerous lovely moments, such as the blurry string-drenched overture “Station,” which finds Richardson gravitating towards Eluvium territory, and “Saved by a Helicopter,” a pretty interlude of untreated piano. A stormy mass of clatter, haze, and sirens blows the background of “Reasons to Go” but not so loudly that it overwhelms its lilting piano and glockenspiel melodies and acoustic guitar arpeggios.